Det italienske kulturinstitutt i Oslo lanserer første utgave av en kunstnerresidens og bilateral utveksling for italienske og og norske dansere og koreografer. Initiativet er tenkt å gi italiensk samtidsdans større fokus og samtidig være en nyttig kanal for å bedre dialogen mellom Italia og Norge på dette feltet, både på kort og lengre sikt.
Det er det italienske dansekompaniet Parini Secondo med Sissj Bassani og Martina Piazzi som er først ut i dette programmet. De vil gjeste BIT Teatergarasjen i Bergen og tilbringe 13 dager i kunstnerresidensen i Fjaler og holde en avslutningsforestilling 2. april kl. 18.00 som de har kalt «HIT» i Fjaler nye kulturhus Samvirket.
Prosjektet er et samarbeid mellom MIC Direzione Generale Spettacolo, NID platform, PAHN Performing Arts Hub Norway og Den norske ambassaden i Roma. Kunstnerresidensene vil finne sted i Norge og Italia ila 2024.
Se en teaser av forestillingen her
PROJECT PRESENTATION:
Parini Secondo chooses rope skipping as an athletic practice and rhythmic element to create his new production – HIT.
The song of the dead is the echo of thunder.
In this instrument, Parini identifies the powerful union between the athlete and the child, two heroic figures who, together with the poet, share a close relationship with death (Jesi, 1958). The jump, at once limp and flight, is the stylised dance that leads out of the labyrinth, interpreted here as a negation of the systemic condition that would have us lying motionless on the ground with our eyes closed. One can come out of the impasse like drums: by creating a physical void in which the skin resonates with each blow, becomes an echo of the words heard, becomes stone that sings.
In a composition elaborated together with musician and researcher Alberto Ricca/Bienoise, the illusory repetitiveness of the rotating flow of the rope becomes an inexorable spiral that parabolises time from the real to the ritual. What comes before, the exercise, is already everything that comes after, is the dance. In this sports-ritual binomial, a path of sublimation of athletic practice develops in which occluding repetition is transformed into an evolutionary portal. The passage from the exercise sphere to the performance sphere takes place discreetly and by juxtaposition, veiling the initiatory path that connects them, which is inspired by the game of hopscotch in its French version – the escargot, a numbered spiral grid to be completed in an outward and return movement by jumping on one foot.
It is in the nature of what is sacred to be able to be heard, but to want to be seen in a veiled way or not to want to be seen at all. (Schneider, 2005
